Recipes for Exciting Ceramic Surfaces with Cone 6 Glazes
Jonathan Kaplan has developed some methods with which he tweaks his glazes and his firing schedule to add some oomph to his ceramic surfaces. Today he shares his techniques for enlivening Cone 6 glazes and some of his favorite Cone 6 ceramic glaze recipes.
Glazing and Firing Techniques Atmospheric-like Effects in an Electric Kiln
Steven Hill points out in today’s post (an excerpt from the March 2012 issue of Ceramics Monthly) that firing to cone 6 in an electric kiln does not mean you can’t get beautiful atmospheric-like results. Read on to discover how Steven makes it happen (and for some glaze recipes!).
An Introduction to Electric Kilns: What to Look For When Buying an Electric Kiln or Test Kiln
Electric kilns are used by contemporary ceramists more often than kilns of any other type. In today’s post, an excerpt from Electric Kiln Ceramics, Richard Zakin explains the features that one should look for in an electric kiln. And if you’d like to start off small and purchase a test kiln, Richard has some tips for getting the most out of those small, but handy devices.
The New World of Crystalline Glazes: Developing Beautiful Crystals in Reduction
In today’s post, crystalline potter Diane Creber explains the basics of growing crystals and how crystalline glaze potters have been recently experimenting using reduction to enhance the pre-formed crystals in their glazes. Plus she shares a couple of great crystalline glaze recipes and a crystalline firing program for a digital controller.
Ten Basics of Firing Electric Kilns
Firing is the most critical part of the ceramics process because it is the one thing that makes clay durable, hence ceramic. This article presents some of the principles of firing and getting the best results with electric kilns.
Studio Safety: Venting Electric Kilns
Having adequate ventilation for electric kilns promotes a safe work environment. Find out what you need to do to ventilate your kiln room.
From High Fire to Mid Range: Changing Kilns Leads to New Decorating and Glazing Techniques
After high firing in a gas kiln for 25 years, Wickford, Rhode Island, potter Harry Spring was forced by circumstances to switch to electric. This was quite an adjustment, as Spring had come to depend on the serendipitous effects that are part of the magic of reduction firing. But, adjust he did. Today he shares with us some of the adjustments he made that have made switching to oxidation firing a fun challenge rather than a burden.
